The Petit Trianon, being a reproduction of plates from a work

CORNELL
UNIVERSITY

COLLEGE OF

ARCHITECTURE

LIBRARY

K, A -,-,-.-. .9P1"*" University Library
NA 7736. V5A76 1914

^•le Petit Trianon, being a reproduction o

3 1924 015 209 681

Cornell University
Library

The original of this book is in
the Cornell University Library.

There are no known copyright restrictions in
the United States on the use of the text.

http://www.archive.org/details/cu31924015209681

Photo by Mr. H. B. Russell

MUSIC PAVILION IN THE GROUNDS OF THE PETIT TRIANON

THE

PETIT TRIANON

BEING A REPRODUCTION OF PLATES FROM A WORK

BY JAMES A. ARNOTT AND JOHN WILSON

ARCHITECTS, OF EDINBURGH

Fl-E.SCHMANN CONSTRUCTION

Co

NEW YORK

THE ARCHITECTURAL BOOK PUBLISHING COMPANY

PAUL WENZEL AND MAURICE KRAKOW

M-DCCCC-XIV

HISTORICAL NOTICE.

THE Palace of the Petit Trianon,* whose gardens adjoin those of the Grand Trianon, is
situated in the park of the Chateau of Versailles, and, like the larger building, its origin
lay in the caprice of a royal mistress. Louis XV. had already established a great
botanical garden close to the gardens of the Grand Trianon, and had also erected near them
a "Salon de jeu et de conversation," known as the French Pavilion. He took great pleasure in
.his visits to this spot, and Mme de Pompadour, to further interest the king, induced him to
erect a small country house in the grounds. Jacques-Ange Gabriel was, accordingly, instructed to
prepare plans, and the building was begun in 1762 and completed in 1768. After completion
this building was first associated with Mme. du Barry who, enamoured of the place, often gave
suppers to the king and some of his intimate friends. These supper parties, although perfectly in
order, were often transformed, in the imagination of the writers for the press of that day, into orgies.
While on a visit to the Petit Trianon in April 1774, the king became ill and was removed to the
Chateau of Versailles, where he died about a fortnight later. "S^^^i^l^i"^^ "^ ^ ^'' ^
Y^ As in the case of the 'Grand Trianon, which was gifted by Louis XIJV. to his wife, Marie
(Leczinska, Louis XVI., upon succeeding to the throne, made a present of the Petit Trianon to
his wife, Marie Antoinette, and it is with her that the building is chiefly associated. Marie
Antoinette had already ardently desired, whenever possible, to live a simple country life free from
the restraints of court life, and here she found the means of doing so. At times she would
spend the day in the garden gathering roses, and in the evening would return and pass the
night at Trianon. Frequently she would give entertainments here. One day she would have
a children's ball, to which none but the little ones and their nurses would be invited. Another
day a fair would be held, where the ladies of tlie court sold at the stalls and the queen acted as
a lemonade girl. It was considered a great privilege to be allowed to spend a day or two at the
Trianon, and none but the queen's most intimate friends were invited. The king would frequentlv
call with his brothers, Monsieur and the Comte d'Artois, but never on any occasion did he stay
overnight. It was customary for guests to arrive at 2 o'clock for dinner, but, unless close personal
friends, they returned in the evening to Versailles. As chatelaine of this charming house Marie
Antoinette presided with grace, and her ofaly thought was to please those who were her guests.
One who was her guest has written ; — " The^queen remained sometimes for a month at a time at
" the Petit Trianon and had estabUshed there all the customs of country life ; when she entered
" the drawing-room the ladies did not leave the piano nor lay down their needlework ; the men
"did not break off their game of billiards or backgammon. . . . The queen was accompanied
"by Mme. Elizabeth, but dispensed with the ladies of honour and the ladies of the palace.
... The king and the princes came to supper regularly. A .dress of white muslin, a

* "Trianon, called in the 12th century Trianuni, is the name of an ancierlt palace belonging to the diocese of Chartres. Louis XIV, purchased it from the
"Abbaye of Sie. Genevieve. It has always been called the region of fiowers, on account of the enchanting gardens by which it is surrounded." — France in iSoz, by
H. R. Yorke, ed. by J. A. C. Sykes, p 82.

'gauze fichu, and a straw hat— such was the whole attire of the princesses."* Another writer
tells us that "the queen and her friends played at blind man's buff and other games in the
'garden, and jumped over flower beds and low hedges; or they rushed through rooms, shaking
'the furniture and overturning statues and porcelain vases that were thus broken to atoms. Once
' when the Princesse de Lamballe was complaining that she had not been mvited to the Trianon the
'previous evening, the queen replied, 'You lost nothing by your absence; not a thing was
"broken."'! On the occasion of the visits of her brother. Emperor Joseph II., and the Comte
and Comtesse du Nord, magnificent fetds were given in their honour. Hundreds of guests were
invited to supper, and the bands of the French and Swiss Guards played in the gardens The
paths and the shrubberies were illuminated with coloured lanterns, which gave so subdued a light
that, as an eye-witness has written, "the water, the trees, and the people all seemed ethereal."
After supper some sjpectacle or ballet finished the evening, but what made these entertainments so
attractive was the charm and amiability of the queen. The Comte de Mercy, in writing to Marie
Antoinette's mother, Marie Theresa, about these entertainments, said, " Provided .that they do not
" become too frequent or too expensive, they can only aid in establishing good form at the court
" and a species of amusement which is fitting."

The queen, when dauphiness, had shown a liking for private theatricals, and with her youthful
companions had organised representations in her private rooms, and it was only the displeasure of
the old king that put an end to them. After taking possession of the Trianon she had a theatre
built on the north side of the gardens, where she, and some of the royal set, acted on the stage.

A favourite haunt of Marie Antoinette was the Hamlet, a little group of rustic houses in the
east corner of the gardens, and here were lodged three households — the farmer's, the caretaker's, and
the gardener's. These houses were built in 1783 and consist of a dairy, poultry house, mill, granary,
lodges for keepers, and buildings for the use of the queen. This charming spot had a fascination
for all who visited it, and it was only quitted with feelings of regret. The Hamlet was last visited
by the queen at the time of the advance of the revolutionary mob on Versailles. t She was sitting in
the garden when a messenger arrived with the news which caused her to leave the place never to
return. ■ There were many fables rife concerning the life led by the royal family at the Hamlet, but
they were for the most part the misrepresentations of malicious courtiers. As one looks at these
simple country houses a. feeling of surprise is experienced that this taste for simplicity existed just on
the verge of the Revolution.

There is such a diversity between the accounts given of the life of the queen by Mme. Campan
and M. Weber on the one hand, and MM. Besenval and Lauzun on the other, that the exact truth lies,
as M. Rocheterie says, " somewhere between the libel and the legend, but on the whole hearer the
" legend. Marie Antoinette was not a sinner, neither was she a saint. She was a pure and charming
" woman, somewhat heedless and frivolous, but always chaste ; a queen somewhat too hot headed in
" the patronage she bestowed and inconsiderate in her political actions, but proud and energetic ; a
" true queen by reason of the dignity of her bearing and the splendour of her majesty ; a true woman
" in virtue of the seductiveness of her manners and the tenderness of her heart till she became a martyr
" through the extremity of her trials and her triumphant death "§ Malicious tongues, which never
ceased to pursue her as long as she lived and attacked her every word and action, especially singled
out the Petit Trianon with which to reproach her. When she was on her trial the judges brought
against her the charge of extravagance at the Trianon, which malice had magnified.

During the First Empire Napoleon's favourite sister, Pauline Borghese, lived in the Petit

*De Nolhac, Versailles and the TrianOns, p. 289. t 5th October 1789.

t Clara Tschudi, Marie Antoinette, pp. 80-1. % Revue, des Questions Historiques, April 1874, p. 594,

3
Trianon for some time. On the 25th August 18 n Napoleon gave a splendid feast with illuminations
in the gardens and representations of rural life. During the reign of Louis Philippe, who made
some slight alterations, the Duke and Duchess of Orleans used it as a private residence. During
the Second Empire the Empress Eugenie, who was an ardent admirer of the memory of Marie
Antoinette, instituted an exhibition in the building of works of art, paintings, furniture, etc., which
had been the property of the ill-fated queen. At the present day the Republic have formed the
Trianon into a museum, with the rooms furnished as they probably were at the time of the
Revolution.

GENERAL DESCRIPTION.

THE Petit Trianon was designed by Jacques-Ange Gabriel (1698- 1782), a well-known architect,
who also built the Ecole Militaire, the Garde Meuble, and other well-known buildings
in Pans.* Although the building was erected at the close of the reign of Louis XV.
(1762-68), it has the chief characteristics of the time of Louis XVI.

The exterior is simple in design, and depends entirely for effect on its good proportions and
refinement of detail The walls are built of a rich cream-coloured lirnestone, which shows as yet
no sign of decay. The building is rectangular in plan and of small dimensions. On the south
side it is approached by a spacious avenue leading from the main road to the Grand Trianon. The
entrance courtyard is bounded on the east and west sides by high, walls,, partially masked by beech
hedges, and, on the south side, by the iron railing and gates which' are;,flanked by two sentry boxes.
Beyond the west wall of the courtyard lie the chapel and offices of the Petit Trianon, which form
part of the south boundary of the gardens. On the west and the north sides the building is flanked
by terrace walls. The French garden is situated on the west side, and extends to the park of
the Grand Trianon. The garden, except for the small formal flower garden, was actually finished
before the building was erected; and it is laid out with groves and ornamented with basins of
water. This garden was, according to M. Desjardins,t the last laid out in this style, as im-
mediately afterwards the so-called "^English garden" became the fashion. In the centre of the
garden the French Pavilion or Concert Room is situated. It is an octagonal building in stone,
designed in 1705 by Jacques- Jules Gabriel — the father of the architect of the Petit Trianon —
and was used as a place for music and card playing. On the north side of the garden is the
theatre which was built for Marie Antoinette by her architect, Richard Mique, in 1778-79. To
the north and east of the Petit Trianon lies the famous "English garden" of Marie Antoinette.
It was designed in the new style at that time called Anglo-Chinese, and remains, with few changes,
to the present day. The structural work in connection with the lakes and grotto was designed ' i^
by Richard Mique, and the magnificent trees, which are jts chief beauty, were planted by theOe<^
gardener Claude Richard. Beyond the last mentioned garden is situated the group of houses ^^
called the Hamlet. This delightful group was designed by Richard Mique and the queen's j
painter, Hubert Robert. It was begun in 1782 and finished in 1788.

The main entrance to the Petit Trianon is from the north end of the courtyard, which has
already been described. On the ground floor are the staircase hall, which extends through two,
floors, the billiard room, guard room, kitchen, offices, etc. On the west and north sides of the'
first floor are the reception rooms, consisting of the anteroom, dining room, small salon and salon ;
and, on the east side, communicating with the salon, is the suite of private rooms consisting of the
boudoir, bedroom, and the dressing room of Marie Antoinette. The ceilings of these latter rooms are
much lower in height than those of the reception rooms, and admit of an entresol being placed

* Lady Dilke's French Architects and Sculptors, p. 22. t G. Desjardins' U Petit Trianon.

5

over. The boudoir was originally a private staircase,* which gave access to the entresol rooms,

and the bedroom and the dressing room were respectively the "Cabinet du Roi" and the Library

of Louis XV- This arrangement, however, was altered, and other changes were made on the

ground and second floors when Marie Antoinette obtained possession. The staircase kading tO

the entresol and second floor is situated in the south-east angle of the building with an entrance

from the landing of the main staircase, as well as from the queen's dressing room. The rooms

in the entresol over the bedroom and the dressing room ot the queen were used by Louis XV.

as his bedroom and dressing room. This dressing room was used as a bedroom at a later period

by the Princesse de Lamballe. The rooms on the second floor were originally intended for the

gentlemen of the king's suite, and subsequently, those facing the gardens were used by Marie

Antoinette for the accommodation of her guests. The small closets, some of them lit by borrowed"

lights from the passages and all without any provision for ventilation (a fact showing that little

attention was at that time paid to hygiene), were mostly occupied by personal servants.!

Compared with a rnodern plan it will be noticed that there is a remarkable absence of
servants' accommodation in the basement, as the staircase hall, the guard room, the billiard room,
and the room adjoining take up more than a third of the whole area of the plan; and much of
the space under the dining room is lost, owing to the arrangement which formerly existed for
lowering the dining table, unless It is considered purely as a serving room. The principal
staircase is very quiet and stately In design ; the walls are of stone throughout and give the effect
of great massiveness and solidity. The dignified treatment of the staircase Is carried through . the
suite of reception rooms, which have high ceilings with wood panelling carried to the underside of
the plaster cornice. The dining room, which nearly approaches a square on plan (a most excellent
arrangement giving ample room between the fireplace and the table), has been considered the
most Important apartment and overlooks the formal garden, where all the gardener's art has been
concentrated. It will also be noticed that the room has a western aspect, so that at the early
dinner, customary at that period, the formal garden could be seen under, full sunshine without
inconvenience to host or guests. The small salon and the ante-chamber share the same prospect,
whilst the salon has a prospect to the north over the " English garden," which is in reality a park.
The private suite of rooms, as mentioned before, have low ceilings and are designed in
accordance with their use. The boudoir has exquisite carving on the wall panelling, consisting
of roses interspersed with doves, cornucoplae, crowns, and quivers; with the monogram M.A.,
" pierced with harmless arrows and framed with daisies." The bedroom also has beautifully
carved woodwork, but of a more vigorous type than that of the boudoir.

Nearly all the rooms throughout the building are panelled in oak, and It will be noticed that
the framing varies considerably In width in each room. In every case wood pins are used to
fasten the framing together. To obviate the difficulty of framing up large portions of panelling,
certain panels are made ^ project or pilasters are introduced, and in this way long horizontal
rails are dispensed with. The doors are thin and vary from i^ inch to ij inch in thickness.
The floors of most of the roorns are of oak parquetry In squares of over three feet, built up of
boards 3 Inches wide and laid diagonally, though In a few of the rooms the parquetry is of
boards three Inches wide, laid In a^herrlng bone pattern. The panelling throughout the buildino"

* G. Desjardins' Le Petit Trianon, pp. 32 and 133.

+ VioUet-Ie-Duc, in the article on latrines, in the Dictiotmaire raisonne de V architecture frati^aise, says, " Le chateau de Versailles ne renfermait qu'un nombre teHement
restreint de priv^s, que tous les personnages de la cour devaient avoir des chaises percees dans leur garde-robe . . Nous nous souvenons de I'odeur qui s'^tait rdpandue
du temps du roi Louis XVIIL, dans les corridors de Saint-Cloud, car les traditions de Versailles s'y ^taient conserv^es scrupuleusement. Ce fait relatif i Versailles n'est point
exag^r<5. Un jour que nous visitions, etant tres jeune, ce palais avec une respectable dame de la cour de Louis XV., passant dans un couloir empest^, elle ne put retenir cette
exclamation de regret : 'Cette odeur me rappelle un bien beau temps.'"

6

was originally painted in a pale shade of bluish green, with the carvings picked out in white with
toi^ches of gold.* At the time of Louis Philippe the woodwork was painted a greyish white and
It remains so to this day. The skirting in each room is painted in imitation of the marble of
which the chimney-piece is made, with the exception of those rooms where the chimney-piece is
m white marble, in which cases the skirtings are in imitation of dove marble. This practice, not
uncommon at the period, may be defended on utilitarian grounds.

* De Nolhac, {^ersaiUes and the Trianons, p. 287.

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LEVtL OF IHTHANCE COLlR.T.-i^

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PART SOUTH ELEVATION„

SECTION A'A

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DETAIL DE LA FACADE SUD,

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PLATE XI.

DETAILS OF EXTERNAL STONEWORK.

DETAILS DE PIERRE DES EXTERIEURS.

PLATE XIII.

COPE OF TERRACE WALLS
EAST AND SOUTH FACADES
1\ FULL SIZE

CORNICE OF PIERS AT |
ENDS OF TERRACE WALLS]
if\ FULL SIZE.

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ARCHITRAVE OF CIRCULAR ->^^

WINDOWS OF PAVILIONS //|-F-S-

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GREAtEST PROJECTION

OF CARVINQ RBUNO

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ARCHITRAVE OF ELLIPTICAL V^

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PRINCIPAL STAIRCASE,

ESCALIER PRINCIPAL

PRINCIPAL STAIRCASE.

ESCALIER PRINCIPAL.

PLATE XVIII.

PRINCIPAL STAIRCASE.
nPTAiis OF WRniir.HT-iRnN RAILING— NEWEL.

•ESCALIER PRINCIPAL.

DETAILS DE LA RAMPE EN PER FORGE.

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DETAILS DE LA RAMPE EN PER FORGE
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PLATE XXI.

PRINCIPAL STAIRCASE.

nFTAUS np u/pr)rir-LJ-r_]RON RAILING

ESCALIER PRINCIPAL.

/DETAILS DE LA RAMPE EN PER FORGE

PLATE XXU.

PRINCIPAL STAIRCASE.

WORK.

ESCALIER PRINCIPAL.

DETAILS DE PIERRE.

PLATE XXIV.

BILLIARD ROOM.

DETAILS OF WINDOW AND DOOR FURNITURE.

SALLE DE BILLARD.

DETAILS DE LA GARNITURE DES FENETRES ET DE LA PORTE.

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ELEVATION OF WEST WALL.

THE SHWTING IS PAINTED TO
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or FLOOR fcT WINDOW.

PLAN THRO'
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THE GREATEST PROJECTION OF CARVING

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THE LEAVES AT BORDtRS Of SWAGS HAVE

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FROM rACE OF PANEL

THE STILES AND RAILS OF WALL PANELLING

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ANTECHAMBER.

ELEVATION OF WEST WALL

ANTICHAMBRE.

ELEVATION DU COTE QUEST.

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I'LATE XXi.V.

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DINING ROOM

DETAIL OF DOORS IN NORTH

SALLE A MANGER.

DETAIL DES FORTES DANS
LES FACES NORD ET SUD.

PLATE XXX.

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5£ME AS fan
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L:TH!;T>III4NtYP;ECE IS Or
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CJRVINC ON iOWtK PART Of WECE PANELS flA5 GKEATtST PKOJ!! I IH . ( fSurT w VASE)

TVIC SHIELD PfttJECTS-'^" LEAVES tiC AVE,RX;t /*.
aKi'iNC GH i.mvi. PACT Of lakce; panels has CREATEST PROJ! A» 'ih?UTHJ.

THE FloVEifG in frSTOOHi. OfoJtCT l!i^ rdr CEAST PfOJ". IS ABOUf /lb'

C'HErL f^OT-S CIVCM ON ^LattS TiPJ^Ovll^jj

PLAN.

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DINING ROOM.

DETAIL OF PART FIREPLACE WALL.

SALLE A MANGER

DETAIL D'UNE PARTIE DU COTE
DE LA CH EMI NEE.

PLATE XXXI.

NOTf-

PANE.L MOULD 5 15 5AME
AS PANEL MOULD 5 BUT
MAS NO ENRICHWENT AND
HAS PLAIN TIELDING IN
PLACE OF CARVING.

FACE
STILd.

PANEL MOULD 3 SAME AS
PANEL MOULD 4 BUT WITHOUT
RAISED rlLLCT-

DINING ROOM.

SALLE A MANGER.

DETAILS DES BOISERIES.

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PANNEAUX I.— COTE EST.

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ELEVATION OF EAST WALL.

ivi-Yi''iVWr4!43ir'l'IWKri'

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NO ENR1CHWENT OM MOULDINGS 01
\.KKCl PANF_LS in DtDO

PLAN THRO'
FIREPLACE.

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FOR DESCRIPTIVE MOTFS
SEE PLATI W 37

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SMALL SALON.

ELEVATION OF EAST WALL

PETIT SALON

ELEVATION DIJ COTE EST

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DETAIL OF PART FIREPLACE WALL

SALON.

DETAIL D'UNE PARTIE DU COTE

DE LA CHEMINEE.

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PLATE XLIII.

SALON.

SALON.

PLATE XUV.

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SALON.

CHIIVINEYPIECE.

SALON.
CHEMINEE

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SALON.
nFTAiis OF r>nnR fiirniture.

SALON.

DETAILS DE LA GARNITURE DES PORTES.

PLATE XLVII.

SALON.

DETAILS OF WINDOW FURNITURE.

SALON.

DETAILS DE LA GARNITURE DES FENETRES.

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■'5!3|pij|jli™>l[[|%TA---«tT

PLASTER CORNICE

T>1E i.V\e 03CM1CE. IS USED INTHt
8£DROO,-A AND DCtSSiNC R00r\.

BACK OF DOOR TO 5ALON IN
FIREPLACE WALL

BACK OF DOOR TO BEDROCKS
IN \»yALL TO BeDROOf■^

R^NEL nOULD 7

NOTE;

THt DETAILS OFWiNDOWi
ARE SIMILAR TOTHOSE OF
BEDROO^^-6EE PLATE N°57-

TWS FIELDINq LS OA\ITTtP OM
PANELS A60VE. DADO RAIU ■

PANEL nOULD 2

PANEL MOULD 2

THIS iPA^TEWAS OQit^lNAllY
ACQOO^ Foe Q1A5S ^MCRORS
WHICH SUO DOWWrROM, a,botE
AND FORMED ^5HCflTt^S ATWqift

PAM£LA\0ULD3

NOTE:

ALLTHE SECTIONS
Cf nOULDlNqS ARL
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PANEL AOULD ^

DADO RAIL AND iKll?TINC,
ABE RETUENE.D HEJJt

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BOUDOIR.

BOUDOIR.

DETAILS DES BOISERIES.

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CHAMBRE A COUCHER.

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FURNITURE.

COMMODE IN BEDROOM.
DETAILS.

AMEUBLEMENT

COMMODE DE LA CHAMBRE A COUCHER.
DETAILS.

PLATK LXJ.V

FIIRNITTIRF

AMEUBLEMENT.

PLATE LXX.

FITRNITIIRF

AMEUBLEMENT.

VLATE LXXI.

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AMEUBLEMENT

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DETAILS DU LIT.

PLATE LXXVII.

RE.

AMEUBLEMENT.

DETAILS DU LIT.

PLATE LX XVIII.

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PLATE LXXtX

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BILLARD.

PLATE LXXXr.

FURNITURE.

AMEUBLEMENT.

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